Depending on the size of the Acoustic Pressure Equalizer Ball your microphone will impact your recording differently. The Acoustic Pressure Equalizer Ball comes in three sizes; 30mm, 40mm and 50mm.
The APE40RS, a Ø40 mm sphere, offers a more noticeable on-axis boost between 2 kHz and 8 kHz. It also offers stronger off-axis attenuation than the Ø30 mm version. This gives a marked increase in the directivity of your recordings (at 4 kHz, the front-to-back sensitivity ratio is 8 dB). It also decreases the effects of reverberation and off-axis sources.
When using Acoustic Pressure Equalizer, 40 mm Ball, you can modify the spectral characteristic of a source by simply altering the angle of incidence to give a frequency boost, a flat response or attenuation.
This accessory substitutes the former L40B, suitable for d:dicate™ 4003, d:dicate™ 4006A and their stereo kits. The L40B cannot be used with the modular d:dicate Series but the APE40RS is backwards compatible.
More on acoustic modification
The Acoustic Pressure Equalizers – APEs – are passive acoustic processors functioning as both spatial and spectral modifiers. They use surface diffractions to modify the sound field near the microphone diaphragm. This technique is only possible on omnidirectional pressure microphones.
Two primary changes occur when using APEs:
1. An upper-midrange/high frequency boost (without changing the low end). This is due to the pressure build-up at certain frequencies depending on the element’s size.
2. More directionality at higher frequencies (focus).
A presence (upper-midrange) lift is often desirable in rhythmical genres, to make a voice or an instrument cut through a mix or simply to make it more intelligible or well defined. For symphonic music, the frequency response of certain legendary vintage types of microphones can be obtained using an APE. However, you will achieve a much higher degree of naturalness and detail when using a precision-handcrafted d:dicate™ 4006A Omnidirectional Microphone.